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The portayal of masculinity in JoJo no Kimyou na Bouken

Arguably one of the most influential works in modern Japanese media is JoJo’s Bizarre Adventure (JoJo no Kimyō na Bōken). This manga, created by the famous mangaka Hirohiko Araki, has become synonymous with Japanese Pop culture as it resonates deeply within youths. It is said by many that in nearly every current anime, manga or even real life media, references to this work are present in some way or another. Filled with outlandish, flamboyant and bizarre characters, it is perhaps no surprise to have gained the attention of youths, who are growing up in a period of rapid social change.

Matters pertaining to queerness and tolerability have many people wondering what it means to identify with a gender. What exactly does it mean to be man? This is, I believe, one incredibly relevant question within our society, where some turn to the ‘red-pill’ and Adrew Tate and other’s find comfort within LGBTQ communities. Allow me to present how JoJo’s Bizarre adventure offers an enlightening perspective on this question.

Summary of the plot:

Although this manga has been running since 1987 and is currently split in 9 main story arcs (known as parts), It does follow a relatively cohesive and satisfying story. The story follows primary male members of the Joestar family, all bearing the nickname JoJo, and the bizarre events occurring around them. Spanning from 19th century London to Modern day Hawaii, each part is set a distinct and historical setting.

Part 1, known as Phantom Blood, tells the story of the aristocratic Joestar family and the sleezy and cunning Brando family and the origin of their seemingly unending conflict, cursed to be perpetuated by their bloodline. The effects of which can be felt up to Part 6, known as Stone ocean, where the curse of their eternal feud gets lifted in the end.

Parts 7, 8 and 9 are set in an alternate universe, again focusing on the Joestar family but leaving behind the Brando feud. It instead explores the cruelty and inevitability of fate, which is called “Calamity”. Part 7, Steel Ball Run, especially covers the ideas of sin, virtue and karma. The main JoJo of this part in particular is an atypical hero; being physically disabled and often justifying killing as the easiest means to resolve an inconvenience. But as the story progresses he learns to embrace his disability and he becomes more responsible for his actions. Interestingly enough, It seems very few readers perceive JoJo’s Bizarre adventure as a coming-of-age story. Essentially, each part begins with a young unexperienced teenage boy of the Joestar family, who by the end has grown confidently into their role in the world.

The Masculine physique and the art posing:

Like most long running manga, the art style is bound to change over time; often to fit the standardized style of contemporaries, sometimes due to personal taste changing. Just by viewing a panel out of Phantom Blood and comparing it to a panel out of the newest part, The JOJOLands, we can deduce rather easily that Araki is no exception to this phenomenon.

Araki’s early works consisted mostly of seinen manga; these revolve around older men (ages 20 to 50) with adult themes and extreme violence. When Araki first started writing JoJo’s Bizarre adventure in the ‘80s, his work was thus greatly inspired by his contemporaries within the seinen genre. Most notably Tetsuo Hara, creator of Fist of the North Star.  

This style was known for the use of bulky men with detailed faces and amplified musculature, creating a menacing feeling of power and dominance. This is comparable to the image of a super macho man. However during the run of the fourth part, Diamond is unbreakable, Araki grew discontent with how women were treated in manga and the way they were drawn.  “…Both men and women can become heroes. Up until the 1980’s, male characters had to be dynamic and take action, and female characters had to be delicate and passive. But that is no longer necessary. I think that this reflects a greater cultural shift…”  (Araki, 2015, p58) This revelation allowed him to explore a more fluid and feminine approach of portraying characters and masculinity. Later parts portray men with simpler, softer faces and slender flexible bodies, which allows for a more expressive physique with an effeminate touch.

To express these intense emotions, JoJo characters will often pose, which admittedly might seem silly. These pose are often quite sensual and reminiscent of theatre drama. It is perhaps easier to show, rather than tell. This next pose is inspired by a model in Jean Patou’s Couture Collection.

On the right we see a feminine silhouette with a stance full of temptation and mystery, beckoning the viewer closer with its finger. It demands attention through a male lens of sexuality. On the left we see Dio, the main antagonist of JoJo’s Bizarre Adventure, in a very similar pose created to gain attention from the male gaze. But with elements associated with a female lens on sexuality: bare chest and defined musculature. We can thus perceive these poses as containing masculine elements on a surface level with a stance deeply coded in femininity.  

The Fashion and stands, a visual representation of personality:

In JoJo, aesthetics are important on a narrative level; major characters will wear colorful, over the top ensembles to signify their importance and give away their personality. This could definitely be associated with the fact these characters are teenagers. Often overcome with mental struggle and a desire to make a mark on the world, these characters are loud and unapologetic in the way they present themselves. The main superpower in the series is called a Stand, which acts as an embodiment of 'your one's spirit. A clear example of this is the aforementioned Dio Brando, who is one of the few actually confirmed queer characters. His clothes, stand power and physique are very masculine, yet his voice, mannerisms and poses are very seductive and soothing. This contrasts with his menacing appearance creating an hint of intrigue and mystery. Despite looking masculine, he is an emotional blend of both genders. The fact that these stands are only visible to other people with that power, could be perceived as a metaphor for someone’s internal struggle for identity or discontent at the world for “oppressing” them. While I am not convinced this is definitely the case, It could definitely be a reason as to why it resonates with so many youths and LGBTQ members. JoJo’s fashion has become so adored in fact, that Araki frequently collaborates with the famous fashion house, Gucci.

An unapologetic expression of masculinity:

In short, Hirohiko Araki has portrayed men in wide range of manners throughout JoJo’s Bizarre Adventure's run, from overly muscular to subtle and feminine. The men in JoJo unapologetically present themselves loudly in a manner that makes teenagers all over the world envy them. This confidence in your identity regardless of your sexuality is what has attracted the attention of queer communities in a mostly positive manner. These men are not afraid to show their emotions, as it serves to confirm their humanity. I believe this is how masculinity is portrayed in JoJo’s Bizarre adventure. It is defined by a characters actions, rather than sex, gender or clothes; but the desire to never back down and prevail in the face of adversity.

Bibliography:

Araki, Hirohiko (2015 & 2017) Manga In Theory and Practice: The Craft of Creating Manga, Japan & San Francisco: Viz Media

Araki, Hirohiko (August 23, 2011) JoJo's Bizarre Adventure: Rohan Kishibe Goes to Gucci (岸辺露伴 グッチへ行く), Japan: Shueisha, Spur

Araki, Hirohiko (August 18, 2023) JoJo's Bizarre Adventure: The JOJOlands, vol 1, Japan: Shueisha

Buronson. and Hara, T. (September 10, 1984) Fist of the North Star: Volume 3, Japan: Shone Jump